In preparation for a public forum I'm co-organizing next week (Decolonize Mitte! Humboldt Forum, Museum Island, and Schloss—all are welcome to attend!) I've been thinking a lot about ethnographic museums. How can we make them spaces that "work for us," in the sense that they encourage learning, understanding, respect, tolerance, community building, engagement, discourse? Ethnographic collections are a focal point of current debates on provenance research and how to make museums for a modern, anticolonialist world; they are the crucible from which new metals will be poured, hopefully shaping other museums as well. Antiquities collections, more my area of expertise, can look to them for guidance not only in displaying provenance research, but in engaging visitors by telling human stories in a strikingly candid way.

Dresden's Museum für Völkerkunde seems to me exemplary in this respect. Even its online presence makes clear its priorities: connecting people through its displays of things. Its homepage centers on a wonderful statement of just this ("Erzählungen von Menschen, Dingen und Orten" = Stories of people, things, and places) and an introduction that cuts right to the chase: Where did all this stuff come from, and why is it in Germany? Museum visitors make this one of their first questions in the antiquities collections I've worked in, and especially in the current climate they are very likely to do the same in the Dresden ethnographic museum. They will appreciate the no-nonsense approach:

"Today, the uniqueness of many of the objects goes hand in hand with the necessary questions regarding their origin. Who created them and why? How did they come to Dresden? Were these objects given as gifts, sold or even taken from their original owners during the colonial era?"

This is a brave thing to put on the homepage of any museum, particularly with the final phrase raising the potential for repatriation claims. Just so the link to find out more about the collection history (pictured above), whose token photo is a Benin bronze depicting a European man aiming a rifle. A more succinct summary of the conflicted acquisition history could hardly be imagined—how honest to put it right up front!